The very beginning of Scene 1 immediately caught my attention. In this scene, Shakespeare showcases how Viola is the only person so far who is able to match Feste in a game of wits. In lines 7-9, Viola says: "So thou mayst say the king lies by a beggar, if a beggar dwell near him; or the church stands by thy tabor, if thy tabor stand by the church." These lines bear a striking resemblence to the way Feste himself speaks and certainly could not have been spoken by any of the knuckleheads or some of the other characters Feste so easily fools. Shakespeare's subtle way that he flaunts Viola's intellegence allows him to further describe his character's without using blunt, obvious language.
In Act 3, Scene 3, there was one passage that stood out to me. Maria says, in lines 69-71: "He does obey every point of the letter that I dropped to betray him. He does smile his face into more lines than is in the new map with the augmentation of the Indies." Not only is this a fantastic description, but the language is also both uniquely Shakspearean and fits perfectly into the time period. Lines like these are what make reading plays or stories written in the past more difficult, but also more rewarding.
I really liked two parts of scene one. The first was Viola's line, "Then think you right I am not what I am." I like this line because as we talked about in class, it showcases Viola's ability to tell the truth without the people she's talking to knowing what she's truly saying (her subtext, if you will). She began with Orsino in the scene we looked at in class, and continues beautifully with Olivia; showing that perhaps Olivia is as self involved as Orsino is.
The other line I liked was continuing with our class' love of rhyming couplets, "But rather reason thus with reason fetter, Love sought is good, but given unsought is better." Olivia basically spells out the reason she can't love Orsino: he's looking for it and she just wants love to come find her. She's not looking for it, so her love is pure and spontaneous, whereas Orsino plans out being in love.
(this is Cara) The first part in last nights reading that really stood out for me was when Viola went to speak to Olivia again. Something I noticed was that Olivia asks Viola what her name is. I was really surprised that she didnt even know her name yet. When they are talking, Olivia completely abandons her sassy, high status attitude as she tells Viola that she loves her. Shes gone from being too high-status to even ask for this servants name, to desperately declaring her love for that same servant, after only just meeting "him".
At the beginning of scene two, Sir Andrew tells sir Toby about seeing Viola and Olivia together. There is even ANOTHER conflict developing, competition between Sir Andrew and Viola. Fabian tells Sir Andrew that he should have "banged the youth into dumbness". This is setting up some kind of crazy confrontation some point soon. Sebastian and Viola don't know they are both alive and they look identical. Antonio is in Illyria, and just got separated from Sebastian, unaware that there is someone else who looks just like him. Andrew wants to kill Viola, unaware that there is someone else who looks just like her. And of course, there is the crazy love triangle between Orsino, Viola and Olivia. I love how Shakespeare is building up so much tension, it makes it really exciting to read.
I found Act 3 scenes 1-3 to be full of extremely interesting character development and word choice. My favorite moments in these three scenes happen to two very different passages. The first occurs in scene 1 on page 54. In an attempt to see if Viola is in love with her, Olivia asks Viola, "what thou think'st of me" (3.1. 134). Viola tells her that she does not believe that Olivia is who she really is. Olivia retorts by saying that she "think[s] the same of [her]" (3.1.136). Perhaps truthfully, Viola agrees with Olivia telling her that she is correct. I found this moment to be very interesting as this is a moment in the play where Viola (sort of) reveals her true self. This is also an important passage for the actor/actress who is playing Viola. Viola is able to play off a question that would make anyone in her position nervous and wonder if Olivia is on to her charade. However, Viola does not react to this comment and is not fazed by it. Here, the actor/actress must realize that Viola is cunning and able to think quickly on her feet.
The next passage that screamed "read me again" was scene two lines 61-66. Here, Maria enters to tell the knuckleheads and Fabian that Malvolio is falling for the letter and following its instructions. The line that really stuck out to me, however, was Maria's first line: "If you desire the spleen, and will laugh yourself into stitches, follow me" (3.2.61-62).I found this line to be really interesting, as Shakespeare could have just said "come see Malvolio, it's really funny!" Shakespeare is able to evoke an image in the reader of someone's spleen literally bursting from laughter. This sentence is another perfect example of Shakespeare's infamous imagery.
My two favorite parts of Act 3 Scenes 1-3 both came in Scene 1.
Feste says in lines 36-37, "Foolery, sir, does walk about the orb like the sun: it shines everywhere". Upon first reading this I was intrigued simply by the simile and the wording because I thought it sounded nice. But then I thought more about the comment, and it seemed a bit foolish itself. The sun doesn't actually shine everywhere: sometimes the world is in the dark. This being said, perhaps Feste is overlooking something and foolishness isn't everywhere. Perhaps there can sometimes be wiseness.
My other favorite lines were the same as Amalie in the rhyming couplets in lines 151-152: "But rather reason thus with reason fetter, Love sought is good, but given unsought is better." Not only did the rhyme attract my attention, but these words also seemed a bit ironic to me. She says that she prefers love that comes to her more naturally than love that is sought out, like the love Orsino gives her, but she has just finished telling Viola that she loves him/her. She is in a way pursuing Viola, and thus seeking love, so her subtle contradiction leads me to believe that perhaps she is as wrapped up in words as Orsino. Maybe neither of them really know what love is or how to truly feel it.
I feel that these scenes really play with the status of the characters. We see olivia go from a high and mighty status to practically begging viola to love her. We also have an epic battle of wits between feste and viola. We also have maria, a very powerful female character, taking an almost submissive role of compliance in her canoodling with sir toby. It takes a skillful playwright to wreak such masterful delicasies into the status structure of the characters with such a simple flow.
Act 3, Scene 1, Lines 57-65 This is Viola's small speech about Feste, just after her interaction with him. I liked this passage because it is yet another example of how Viola sees things in people that most of the characters fail to notice. She realizes that to have the wit that Feste has, he is also wise and very clever; most of the other characters use him for simple amusement, but don't seem to really listen to him because they deem him a "fool". Viola also sees that his wit and words differ between each person he encounters based on their personality. He finds out what amuses them, or how he can manipulate them, and uses it to his advantage, which only shows how perceptive he is, especially for a fool. Because of Viola's observation about Feste here, I wonder if she also sees something in Orsino's personality that might cause her to love him so much. From what we have seen of Orsino so far, he is not very perceptive or witty, so I can only imagine that Viola sees something else in Orsino that we just cannot see as readers.
Act 3, Scene 3, Line 39 After reading the side note for the word "Elephant", I was very surprised to see that it was a real place in Shakespeare's time (I searched for it on Google and apparently it was the setting for a Doctor Who episode called "The Shakespeare Code", although I couldn't find much more on it online). I liked that Shakespeare referred to a real place in this play because is gives me some sort of place or image to set the scene and the whole play. If I were seeing this play during Shakespeare's time and knew of the Elephant Inn, it would definitely give me a concrete setting for this play, although I like that Shakespeare isn't too obvious about it. It allows some flexibility for the reader to imagine his or her own setting, while still providing some subtle hints for those who understand the reference.
“This is a practice As full of labour as a wise man’s art: For folly that he wisely shows is fit; But wise men, folly fall’n, quite taint their wit”
Here, Viola shows that she does understand how clever Feste is. I especially like the last line, where she alludes that wise fools are often unrecognized for their cleverness. This essentially sums up how Feste is unappreciated for his wisdom by his superiors. Finally, for the first time in the play, somebody seems to realize how wise he truly is. Strangely enough, it’s the newcomer to the area
III.I.141-144
“O what a deal of scorn looks beautiful In the contempt and anger of his lip! A murd’rous guilt shows nor itself more soon Than love that would seem hide. Love’s night is noon.”
I love this part where, even though Viola clearly states that Olivia is mistaken and that she doesn’t love her, Olivia is still invariably convinced that Cesario truly does love her. This quote shows how abnormal we can be when in love. Even when it appears obvious that someone does not like him, the lover always finds a way to read the signals so that that someone really does.
I really liked the beginning of Act 3 scene 1 with Feste and Viola. They exchange some nice wordplay, but I especially liked Viola's line (40-41): "Nay an' thou pass upon me, I'll no more with thee. Hold, there's expenses for thee." After talking in class about Orsino's inability to recognize that Feste was making fun of him, it was refreshing to see that Viola is not so self-important as to miss Feste's insults. This line further illustrated the difference between Viola and Orsino. Viola has the humility to know Feste is making fun of her, and on top of that she is able to appreciate his wit and even pays him for it. Unlike some of the other characters, Viola isn't caught up in her own delusions and can hear what Feste's saying.
Another part that I liked was Act 3 scene 3 with Sebastian and Antonio. All the lines in the scene are structured like poetry with the beginning of each line capitalized. I thought this was interesting after Viola and Olivia's lines in scene 1. Although Sebastian and Antonio's lines don't have the rhyme of Olivia and Viola's, it's interesting that a lot of Sebastian and Antonio's lines are interconnected. The lines are structured to form Shakespeare's literary equivalent of finishing each other's sentences.The different structures are indicative of the different relationships. Olivia's love for Viola is out in the open and completely acceptable (under the assumption that Viola is a boy) and manifests as obvious rhyme. The audience can easily hear the love poetry. With Sebastian and Antonio's lines, the poetry is more discreet, but is more intimate in the way the lines match up. Antonio's love for Sebastian is not as acceptable, but he actually knows Sebastian and Sebastian in some ways needs Antonio. Viola and Olivia have only just met; they haven't established a relationship and therefore their lines independent of one another.
Another thing I thought was interesting was that throughout the play Shakespeare writes some lines with a more poetic structure, even though the difference would be inaudible to the audience. Was it just to influence the actors or was there another reason?
In Act 3, Scene 1, Lines 19-20, I was very surprised in Feste's newfound truth in his words: "But indeed, words are very rascals, since bonds disgraced them". Feste is entirely correct that words have become very untrustworthy and now verbal promises cannot be relied on. Feste's new-found knowledge eludes to our society because in order to gain someone's trust in completing whatever duty we agree on, we must sign a document with pen. Words are meaningless, since society no longer trusts what people say. Everything must be documented as proof of an agreement. Also, I was surprised that back in the age of Shakespeare, verbal promises were not strong enough to gain someone's full trust. I thought that chivalry was implemented so greatly in the society, that a "man's" word would be enough to create a verbal agreement.
In Act 3, Scene 3, Lines 4-13, Shakespeare clearly illustrates Antonio's love for Antonio and his well-being. This is the first relationship in which characters love each other in a non romantic form. These lines are very heroic, "being skilles in these parts: which to a stranger, unguided and unfriended, often prove rough and inhospitable". Antonio is risking his live in order to be Sebastian’s guide and protector in Illyria. Antonio fought in "sea fights" against Count Orsino, therefore Antonio is risking the chance of being caught and brutally punished for his trespassing upon Illyria. It is somewhat ironic that Shakespeare places Sebastian with a guide, yet Viola establishes herself in Illyria without the help of the Captain. This illustrates Shakespeare's opinion that women are independent and do not have to rely on men in life to succeed in their conflicts.
I have no specific lines that really attracted me in scene 1, but more with Feste as a whole. The idea that Shakespeare has a character in every play really questions the way I read from now on. I really see him in Feste which is just impossible to think of. In Lines 33 he says " I am indeed not her fool, but the corrupter of words". This was one of the most powerful lines that I have read in this whole entire book because Feste is so clever in his speech and everything that comes out of his mouth is an "ohh wow that is brilliant" kind of moment. Shakespeare really does an amazing job making Feste such a key character and making his lines so influential.
My second favorite part of Act 3 came in scene 2 lines 29-34. Who doesn't love sir toby. Sir toby is always challenging everyone. He is always in a drunken state its just who he is. On top of that Shakespeare still finds a way to make him brilliant in speech. He represents himself and just keeps on challenging everyone else.
3.1.30-34 I thought Feste's commentary on the husband/wife dynamic. He says that he's just a little fish of a fool compared to any husband, which (especially in Victorian England) is quite a broad statement. Is he implying that husbands are fools to take a wife? Or that (in keeping with the theme of the play) women are smarter than men? Or that men have more of a way with words? I was unclear as to his meaning. Anyone want to help me out? I guess it is a little late...
3.1.118 "I pity you." Viola's response to Olivia essentially saying that she's in love with her is moving and powerful in its simplicity. She minces no words. She does feel bad for Olivia, and understands her position completely because she is in the same spot; just as Olivia is helplessly in love with Viola, Viola is helplessly in love with Orsino. It also establishes the reversal of the power dynamic between Olivia and Viola. Now, Viola is in charge, not Olivia.
Tenn -- last year we had some mysterious postings from people of various names and titles. I honestly have no idea from whom the postings came. This year the postings have started earlier in the semester. hhhmmmm.
Ok, one more thing -- the mysterious poster is a real person .... I mean the name used. Give the name a quick google. It's all coming back to me from last year. This name was used.
I think the whole first interaction between Viola and Feste is really interesting, because it shows how much Viola is beginning to feel at home in her role as Cesario. Particularly 3.2.7-9, about a king lying with a beggar, shows off the confidence that Viola has built up. It shows the prowess she has with words and her ability to stand up even to Feste. This is not the same shipwrecked girl who was mourning for her brother that the play begins with, and we see the effect that this culture of wordplay and love is having on her, which is interesting.
I also think that 3.2.53-57 are really interesting. Here, Toby openly calls Andrew a coward, which seems to not fit with the rest of the play. They are portrayed as buddies who spend a lot of time together and seem to like each other well enough, even though it is made clear that much of the relationship is based on Andrew's wallet. Shakespeare makes the characters work so well together though, so if the friendship is less then genuine coming from Toby it was an interesting choice to make them work so seamlessly.
This marks the beginning of Sir Toby's and Sir Andrew's conflict. I didn't choose those lines because i loved them, yet there were really good insults. I choose the lines out of significance. It's so sad to see two good friends have to get into a conflict that they probably don't remember the cause of it(inebriation). Now i may be going on a stretch here but i think that this scene between the two are significant because it's foretelling of the conflict in the future between the other characters. Maybe a stretch but highly possible.
Act Scene 3
Just observing Antonio in this scene shows how much he cares for Sebastian ( in a subtle way) and how blind Sebastian is to the care of Antonio. I think the love for Sebastian (from antonio) is not over idealized like the love we've seen fro many reasons. I think the main reason is to show how true love can be subtle.
Even though we are just about halfway through the play, it is already very apparent Shakespeare loves to use these moments: sililoquies. (Which is by definition a moment when a character conveys their thoughts to no one in particular. Sorry if I butchered the spelling.) They always catch me a little off guard since I have never really read plays before, and they are much rarer in other types of literature. I thought Olivia's (which starts later in the scene, on line 141) was particularly interesting because Viola hasn't even left the room. I can see how the other sililoquies work because they occur after all the characters but one exit, but with Viola around I am curious to see how different productions staged the moment. In a movie, you could have Olivia whisper the lines, but in a play that would defeat the purpose of the audience hearing what she is saying.
I few other people also commented on Scene 3 in general, and I too found it really interesting - especially compared to the previous Antonio/Sebastian scene. I think Antonio is even more overt with his love and desire, and he constantly repeats those words. When I finished reading the scene, I was left with the image of two lovers meeting in secret, at the Elephant (ooh how romantic). This made me further question what we were talking about...is Shakespeare trying to make these moments of love between men funny? Or is he trying to say that this is just as valid as any other kind of love?
These three scenes were really amusing. I especially liked the encounter between Feste and Viola. Shakespeare continues to show how strong his female characters are which is still surprising for me. Viola is very talented with her wit and can hold her own against Feste, and Olivia can fend off the many suitors, except Viola, that Orsino sends. Shakespeare is clearly demonstrating how he thinks women are strong and somewhat toy with the men in their lives, like Maria fools Malvolio.
Also, I really liked Olivias "aside" confession about her love of Viola. It's so honest and true, one of the few really open moments in the entire play thus far.
Daniel I agree with Ross in that scene one really shows Viola's intelligence. If Shakespeare is indeed using Feste to show himself on stage, than he is showing that Viola is at least as smart or as witty as himself. Whereas most of the other characters don't quite understand what Feste is saying when he plays tricks with sentences, Viola is not only able to keep-up, but is able to further the game, to the delight of Feste: "You have said it sir. To see this age! A sentence is but a chev'ril glove to a good wit-how quickly the wrong side may be turned outward." Shakespeare subtly pays Viola a compliment, as she, along with Feste, are really the smartest characters in the play. It is also important to understand the context within which this compliment and move for women's rights is being performed. At this time Queen Elizabeth is ruling England, so making moves in favor of women's intelligence of equality is probably much more acceptable, and probably approved of by the queen.
The Viola's final lines in scene two are also quite interesting. When Viola says: "I have one heart, one bosom, and one truth, And that no woman has; nor ever none shall mistress be of it, save I alone." She is offering a very thought provoking question to the audience. Olivia, like Orcino in the earlier scenes, is too wraped up in love to see the clues in the lines. "No women shall be mistress of it...SAVE I ALONE!!!" She is basically telling Olivia that she is a women, not a man, during this scene. Also, Viola is presenting the idea of gay men or lesbien women, in an era long before even discussion of these issues would be acceptable. Shakespeare is ahead of his time in many ways.
Similar to Ross, the opening lines of scene 1 stood out to me as being my favorite from this reading. Viola so far, is the only character that seems to have matched Feste in his wit and intelligence. This to me was very striking and quite interesting. No specific line stood out to me during the back and forth commentary between Feste and Viola. In stead of having one specific section of lines, I thoroughly enjoyed this entire sequence of events. I know this is unorthodox and slightly against the object of the homework but I could single out specific line with out detracting from the shear brilliance of this scene. My second favorite line was in Act 3 scene 1, during Viola's confrontation with Olivia. During Viola's intimate conversation with Olivia, the truth about her love for Cesario is revealed. his complication and twist of the plot immediately caught my attention and so I decided tow write about it. The one line that stood out to me was line 138, "A would you were as I would have you be." This line stood out to me because it fully expresses Olivia's desire for Cesario, who is really a woman, to love her. This twist is both comical and sad, because this wanted love can never be.
21 comments:
The very beginning of Scene 1 immediately caught my attention. In this scene, Shakespeare showcases how Viola is the only person so far who is able to match Feste in a game of wits. In lines 7-9, Viola says:
"So thou mayst say the king lies by a beggar, if a beggar dwell near him; or the church stands by thy tabor, if thy tabor stand by the church." These lines bear a striking resemblence to the way Feste himself speaks and certainly could not have been spoken by any of the knuckleheads or some of the other characters Feste so easily fools. Shakespeare's subtle way that he flaunts Viola's intellegence allows him to further describe his character's without using blunt, obvious language.
In Act 3, Scene 3, there was one passage that stood out to me. Maria says, in lines 69-71:
"He does obey every point of the letter that I dropped to betray him. He does smile his face into more lines than is in the new map with the augmentation of the Indies." Not only is this a fantastic description, but the language is also both uniquely Shakspearean and fits perfectly into the time period. Lines like these are what make reading plays or stories written in the past more difficult, but also more rewarding.
I really liked two parts of scene one. The first was Viola's line, "Then think you right I am not what I am." I like this line because as we talked about in class, it showcases Viola's ability to tell the truth without the people she's talking to knowing what she's truly saying (her subtext, if you will). She began with Orsino in the scene we looked at in class, and continues beautifully with Olivia; showing that perhaps Olivia is as self involved as Orsino is.
The other line I liked was continuing with our class' love of rhyming couplets,
"But rather reason thus with reason fetter,
Love sought is good, but given unsought is better." Olivia basically spells out the reason she can't love Orsino: he's looking for it and she just wants love to come find her. She's not looking for it, so her love is pure and spontaneous, whereas Orsino plans out being in love.
(this is Cara)
The first part in last nights reading that really stood out for me was when Viola went to speak to Olivia again. Something I noticed was that Olivia asks Viola what her name is. I was really surprised that she didnt even know her name yet. When they are talking, Olivia completely abandons her sassy, high status attitude as she tells Viola that she loves her. Shes gone from being too high-status to even ask for this servants name, to desperately declaring her love for that same servant, after only just meeting "him".
At the beginning of scene two, Sir Andrew tells sir Toby about seeing Viola and Olivia together. There is even ANOTHER conflict developing, competition between Sir Andrew and Viola. Fabian tells Sir Andrew that he should have "banged the youth into dumbness". This is setting up some kind of crazy confrontation some point soon. Sebastian and Viola don't know they are both alive and they look identical. Antonio is in Illyria, and just got separated from Sebastian, unaware that there is someone else who looks just like him. Andrew wants to kill Viola, unaware that there is someone else who looks just like her. And of course, there is the crazy love triangle between Orsino, Viola and Olivia. I love how Shakespeare is building up so much tension, it makes it really exciting to read.
I found Act 3 scenes 1-3 to be full of extremely interesting character development and word choice. My favorite moments in these three scenes happen to two very different passages. The first occurs in scene 1 on page 54. In an attempt to see if Viola is in love with her, Olivia asks Viola, "what thou think'st of me" (3.1. 134). Viola tells her that she does not believe that Olivia is who she really is. Olivia retorts by saying that she "think[s] the same of [her]" (3.1.136). Perhaps truthfully, Viola agrees with Olivia telling her that she is correct. I found this moment to be very interesting as this is a moment in the play where Viola (sort of) reveals her true self. This is also an important passage for the actor/actress who is playing Viola. Viola is able to play off a question that would make anyone in her position nervous and wonder if Olivia is on to her charade. However, Viola does not react to this comment and is not fazed by it. Here, the actor/actress must realize that Viola is cunning and able to think quickly on her feet.
The next passage that screamed "read me again" was scene two lines 61-66. Here, Maria enters to tell the knuckleheads and Fabian that Malvolio is falling for the letter and following its instructions. The line that really stuck out to me, however, was Maria's first line: "If you desire the spleen, and will laugh yourself into stitches, follow me" (3.2.61-62).I found this line to be really interesting, as Shakespeare could have just said "come see Malvolio, it's really funny!" Shakespeare is able to evoke an image in the reader of someone's spleen literally bursting from laughter.
This sentence is another perfect example of Shakespeare's infamous imagery.
My two favorite parts of Act 3 Scenes 1-3 both came in Scene 1.
Feste says in lines 36-37,
"Foolery, sir, does walk about the orb like the sun: it shines everywhere".
Upon first reading this I was intrigued simply by the simile and the wording because I thought it sounded nice. But then I thought more about the comment, and it seemed a bit foolish itself. The sun doesn't actually shine everywhere: sometimes the world is in the dark. This being said, perhaps Feste is overlooking something and foolishness isn't everywhere. Perhaps there can sometimes be wiseness.
My other favorite lines were the same as Amalie in the rhyming couplets in lines 151-152:
"But rather reason thus with reason fetter,
Love sought is good, but given unsought is better."
Not only did the rhyme attract my attention, but these words also seemed a bit ironic to me. She says that she prefers love that comes to her more naturally than love that is sought out, like the love Orsino gives her, but she has just finished telling Viola that she loves him/her. She is in a way pursuing Viola, and thus seeking love, so her subtle contradiction leads me to believe that perhaps she is as wrapped up in words as Orsino. Maybe neither of them really know what love is or how to truly feel it.
I feel that these scenes really play with the status of the characters. We see olivia go from a high and mighty status to practically begging viola to love her. We also have an epic battle of wits between feste and viola. We also have maria, a very powerful female character, taking an almost submissive role of compliance in her canoodling with sir toby. It takes a skillful playwright to wreak such masterful delicasies into the status structure of the characters with such a simple flow.
Act 3, Scene 1, Lines 57-65
This is Viola's small speech about Feste, just after her interaction with him. I liked this passage because it is yet another example of how Viola sees things in people that most of the characters fail to notice. She realizes that to have the wit that Feste has, he is also wise and very clever; most of the other characters use him for simple amusement, but don't seem to really listen to him because they deem him a "fool". Viola also sees that his wit and words differ between each person he encounters based on their personality. He finds out what amuses them, or how he can manipulate them, and uses it to his advantage, which only shows how perceptive he is, especially for a fool. Because of Viola's observation about Feste here, I wonder if she also sees something in Orsino's personality that might cause her to love him so much. From what we have seen of Orsino so far, he is not very perceptive or witty, so I can only imagine that Viola sees something else in Orsino that we just cannot see as readers.
Act 3, Scene 3, Line 39
After reading the side note for the word "Elephant", I was very surprised to see that it was a real place in Shakespeare's time (I searched for it on Google and apparently it was the setting for a Doctor Who episode called "The Shakespeare Code", although I couldn't find much more on it online). I liked that Shakespeare referred to a real place in this play because is gives me some sort of place or image to set the scene and the whole play. If I were seeing this play during Shakespeare's time and knew of the Elephant Inn, it would definitely give me a concrete setting for this play, although I like that Shakespeare isn't too obvious about it. It allows some flexibility for the reader to imagine his or her own setting, while still providing some subtle hints for those who understand the reference.
III.I.62-65
“This is a practice
As full of labour as a wise man’s art:
For folly that he wisely shows is fit;
But wise men, folly fall’n, quite taint their wit”
Here, Viola shows that she does understand how clever Feste is. I especially like the last line, where she alludes that wise fools are often unrecognized for their cleverness. This essentially sums up how Feste is unappreciated for his wisdom by his superiors. Finally, for the first time in the play, somebody seems to realize how wise he truly is. Strangely enough, it’s the newcomer to the area
III.I.141-144
“O what a deal of scorn looks beautiful
In the contempt and anger of his lip!
A murd’rous guilt shows nor itself more soon
Than love that would seem hide. Love’s night is noon.”
I love this part where, even though Viola clearly states that Olivia is mistaken and that she doesn’t love her, Olivia is still invariably convinced that Cesario truly does love her. This quote shows how abnormal we can be when in love. Even when it appears obvious that someone does not like him, the lover always finds a way to read the signals so that that someone really does.
I really liked the beginning of Act 3 scene 1 with Feste and Viola. They exchange some nice wordplay, but I especially liked Viola's line (40-41): "Nay an' thou pass upon me, I'll no more with thee. Hold, there's expenses for thee." After talking in class about Orsino's inability to recognize that Feste was making fun of him, it was refreshing to see that Viola is not so self-important as to miss Feste's insults. This line further illustrated the difference between Viola and Orsino. Viola has the humility to know Feste is making fun of her, and on top of that she is able to appreciate his wit and even pays him for it. Unlike some of the other characters, Viola isn't caught up in her own delusions and can hear what Feste's saying.
Another part that I liked was Act 3 scene 3 with Sebastian and Antonio. All the lines in the scene are structured like poetry with the beginning of each line capitalized. I thought this was interesting after Viola and Olivia's lines in scene 1. Although Sebastian and Antonio's lines don't have the rhyme of Olivia and Viola's, it's interesting that a lot of Sebastian and Antonio's lines are interconnected. The lines are structured to form Shakespeare's literary equivalent of finishing each other's sentences.The different structures are indicative of the different relationships. Olivia's love for Viola is out in the open and completely acceptable (under the assumption that Viola is a boy) and manifests as obvious rhyme. The audience can easily hear the love poetry. With Sebastian and Antonio's lines, the poetry is more discreet, but is more intimate in the way the lines match up. Antonio's love for Sebastian is not as acceptable, but he actually knows Sebastian and Sebastian in some ways needs Antonio. Viola and Olivia have only just met; they haven't established a relationship and therefore their lines independent of one another.
Another thing I thought was interesting was that throughout the play Shakespeare writes some lines with a more poetic structure, even though the difference would be inaudible to the audience. Was it just to influence the actors or was there another reason?
Eric Slamovich
In Act 3, Scene 1, Lines 19-20, I was very surprised in Feste's newfound truth in his words: "But indeed, words are very rascals, since bonds disgraced them". Feste is entirely correct that words have become very untrustworthy and now verbal promises cannot be relied on. Feste's new-found knowledge eludes to our society because in order to gain someone's trust in completing whatever duty we agree on, we must sign a document with pen. Words are meaningless, since society no longer trusts what people say. Everything must be documented as proof of an agreement. Also, I was surprised that back in the age of Shakespeare, verbal promises were not strong enough to gain someone's full trust. I thought that chivalry was implemented so greatly in the society, that a "man's" word would be enough to create a verbal agreement.
In Act 3, Scene 3, Lines 4-13, Shakespeare clearly illustrates Antonio's love for Antonio and his well-being. This is the first relationship in which characters love each other in a non romantic form. These lines are very heroic, "being skilles in these parts: which to a stranger, unguided and unfriended, often prove rough and inhospitable". Antonio is risking his live in order to be Sebastian’s guide and protector in Illyria. Antonio fought in "sea fights" against Count Orsino, therefore Antonio is risking the chance of being caught and brutally punished for his trespassing upon Illyria. It is somewhat ironic that Shakespeare places Sebastian with a guide, yet Viola establishes herself in Illyria without the help of the Captain. This illustrates Shakespeare's opinion that women are independent and do not have to rely on men in life to succeed in their conflicts.
I have no specific lines that really attracted me in scene 1, but more with Feste as a whole. The idea that Shakespeare has a character in every play really questions the way I read from now on. I really see him in Feste which is just impossible to think of. In Lines 33 he says " I am indeed not her fool, but the corrupter of words". This was one of the most powerful lines that I have read in this whole entire book because Feste is so clever in his speech and everything that comes out of his mouth is an "ohh wow that is brilliant" kind of moment. Shakespeare really does an amazing job making Feste such a key character and making his lines so influential.
My second favorite part of Act 3 came in scene 2 lines 29-34. Who doesn't love sir toby. Sir toby is always challenging everyone. He is always in a drunken state its just who he is. On top of that Shakespeare still finds a way to make him brilliant in speech. He represents himself and just keeps on challenging everyone else.
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Who is our friend Vlad?
3.1.30-34
I thought Feste's commentary on the husband/wife dynamic. He says that he's just a little fish of a fool compared to any husband, which (especially in Victorian England) is quite a broad statement. Is he implying that husbands are fools to take a wife? Or that (in keeping with the theme of the play) women are smarter than men? Or that men have more of a way with words? I was unclear as to his meaning. Anyone want to help me out? I guess it is a little late...
3.1.118
"I pity you."
Viola's response to Olivia essentially saying that she's in love with her is moving and powerful in its simplicity. She minces no words. She does feel bad for Olivia, and understands her position completely because she is in the same spot; just as Olivia is helplessly in love with Viola, Viola is helplessly in love with Orsino. It also establishes the reversal of the power dynamic between Olivia and Viola. Now, Viola is in charge, not Olivia.
Tenn -- last year we had some mysterious postings from people of various names and titles. I honestly have no idea from whom the postings came. This year the postings have started earlier in the semester. hhhmmmm.
Ok, one more thing -- the mysterious poster is a real person .... I mean the name used. Give the name a quick google. It's all coming back to me from last year. This name was used.
I think the whole first interaction between Viola and Feste is really interesting, because it shows how much Viola is beginning to feel at home in her role as Cesario. Particularly 3.2.7-9, about a king lying with a beggar, shows off the confidence that Viola has built up. It shows the prowess she has with words and her ability to stand up even to Feste. This is not the same shipwrecked girl who was mourning for her brother that the play begins with, and we see the effect that this culture of wordplay and love is having on her, which is interesting.
I also think that 3.2.53-57 are really interesting. Here, Toby openly calls Andrew a coward, which seems to not fit with the rest of the play. They are portrayed as buddies who spend a lot of time together and seem to like each other well enough, even though it is made clear that much of the relationship is based on Andrew's wallet. Shakespeare makes the characters work so well together though, so if the friendship is less then genuine coming from Toby it was an interesting choice to make them work so seamlessly.
Act 3, Scene 2, Lines 29-45
This marks the beginning of Sir Toby's and Sir Andrew's conflict. I didn't choose those lines because i loved them, yet there were really good insults. I choose the lines out of significance. It's so sad to see two good friends have to get into a conflict that they probably don't remember the cause of it(inebriation). Now i may be going on a stretch here but i think that this scene between the two are significant because it's foretelling of the conflict in the future between the other characters. Maybe a stretch but highly possible.
Act Scene 3
Just observing Antonio in this scene shows how much he cares for Sebastian ( in a subtle way) and how blind Sebastian is to the care of Antonio. I think the love for Sebastian (from antonio) is not over idealized like the love we've seen fro many reasons. I think the main reason is to show how true love can be subtle.
Do'th Quidth in the matter of love or name'th for whom shall grow
3.1.57-65
Even though we are just about halfway through the play, it is already very apparent Shakespeare loves to use these moments: sililoquies. (Which is by definition a moment when a character conveys their thoughts to no one in particular. Sorry if I butchered the spelling.) They always catch me a little off guard since I have never really read plays before, and they are much rarer in other types of literature. I thought Olivia's (which starts later in the scene, on line 141) was particularly interesting because Viola hasn't even left the room. I can see how the other sililoquies work because they occur after all the characters but one exit, but with Viola around I am curious to see how different productions staged the moment. In a movie, you could have Olivia whisper the lines, but in a play that would defeat the purpose of the audience hearing what she is saying.
I few other people also commented on Scene 3 in general, and I too found it really interesting - especially compared to the previous Antonio/Sebastian scene. I think Antonio is even more overt with his love and desire, and he constantly repeats those words. When I finished reading the scene, I was left with the image of two lovers meeting in secret, at the Elephant (ooh how romantic). This made me further question what we were talking about...is Shakespeare trying to make these moments of love between men funny? Or is he trying to say that this is just as valid as any other kind of love?
These three scenes were really amusing. I especially liked the encounter between Feste and Viola. Shakespeare continues to show how strong his female characters are which is still surprising for me. Viola is very talented with her wit and can hold her own against Feste, and Olivia can fend off the many suitors, except Viola, that Orsino sends. Shakespeare is clearly demonstrating how he thinks women are strong and somewhat toy with the men in their lives, like Maria fools Malvolio.
Also, I really liked Olivias "aside" confession about her love of Viola. It's so honest and true, one of the few really open moments in the entire play thus far.
Daniel
I agree with Ross in that scene one really shows Viola's intelligence. If Shakespeare is indeed using Feste to show himself on stage, than he is showing that Viola is at least as smart or as witty as himself. Whereas most of the other characters don't quite understand what Feste is saying when he plays tricks with sentences, Viola is not only able to keep-up, but is able to further the game, to the delight of Feste: "You have said it sir. To see this age! A sentence is but a chev'ril glove to a good wit-how quickly the wrong side may be turned outward." Shakespeare subtly pays Viola a compliment, as she, along with Feste, are really the smartest characters in the play. It is also important to understand the context within which this compliment and move for women's rights is being performed. At this time Queen Elizabeth is ruling England, so making moves in favor of women's intelligence of equality is probably much more acceptable, and probably approved of by the queen.
The Viola's final lines in scene two are also quite interesting. When Viola says: "I have one heart, one bosom, and one truth, And that no woman has; nor ever none shall mistress be of it, save I alone." She is offering a very thought provoking question to the audience. Olivia, like Orcino in the earlier scenes, is too wraped up in love to see the clues in the lines. "No women shall be mistress of it...SAVE I ALONE!!!" She is basically telling Olivia that she is a women, not a man, during this scene. Also, Viola is presenting the idea of gay men or lesbien women, in an era long before even discussion of these issues would be acceptable. Shakespeare is ahead of his time in many ways.
Similar to Ross, the opening lines of scene 1 stood out to me as being my favorite from this reading. Viola so far, is the only character that seems to have matched Feste in his wit and intelligence. This to me was very striking and quite interesting. No specific line stood out to me during the back and forth commentary between Feste and Viola. In stead of having one specific section of lines, I thoroughly enjoyed this entire sequence of events. I know this is unorthodox and slightly against the object of the homework but I could single out specific line with out detracting from the shear brilliance of this scene.
My second favorite line was in Act 3 scene 1, during Viola's confrontation with Olivia. During Viola's intimate conversation with Olivia, the truth about her love for Cesario is revealed. his complication and twist of the plot immediately caught my attention and so I decided tow write about it. The one line that stood out to me was line 138, "A would you were as I would have you be." This line stood out to me because it fully expresses Olivia's desire for Cesario, who is really a woman, to love her. This twist is both comical and sad, because this wanted love can never be.
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